Much like Adam Devine’s character in Isn’t It Romantic, I’m a sucker for romantic comedies. From You’ve Got Mail to any early 2000 rom-com starring Matthew McConaughey, there’s something about the genre that I find delightfully fun and whimsical. As they mention in this new meta-update to the genre, which takes as much joy in making fun of films in the genre as it does creating one, the ideas that romantic comedies present may be highly idealized and horribly out of touch with reality — but that’s where the joy comes in, as we all can dream of having the perfect romance play out before our eyes.
I have never been a big fan of Rebel Wilson. She’s okay at times, but I never truly bought the sincerity of her brand of comedy. It’s okay to disagree; I’m sure there are plenty of you out there who absolutely adore her. I just find her a bit dull in most of what she does and her snarky, self-loathing humor gets tired over time. But this is exactly what makes Wilson the perfect person to play the part of Natalie, a lonely architect who doesn’t have the confidence to stand up for her own ideas, no matter how good they may be.
As a fan of romantic comedies as a kid, Natalie grows up with the cynicism of her mother in regards to how these types of films represent society. One inevitable scene in the film has Natalie go on a verbal rampage for why romantic comedies are so awful, setting up her expectations for when she eventually finds herself right in the middle of one after a mugging gone wrong. Waking up in a beautifully-dressed hospital and being attended to by a man who’s too hot to be a doctor, Natalie realizes something is wrong. When she finally puts all of the pieces together, she begins her quest to fulfill her rom-com fantasy mission of finding love with the her hunky dim-bulb of a boss (Liam Hemsworth).
As expected, the script, written by Erin Cardillo, Dana Fox and Katie Silberman, is full of overt references to different types of tropes that infiltrate the majority of romantic comedies. The apartment and wardrobe are way too extravagant for anyone to afford; there’s an overly stereotypical gay sidekick and an overabundance of well-lit cinematography that makes everything seem airy and light; the set design looks like it came right out of Pleasentville; and the most common of the bunch: a best friend who’s secretly smitten for the lead, but forgoes their own desires to help them find love with the hot eye candy they desire.
It’s how they handle these tropes that make the film work on a higher level than just a knock-off satire. Wilson and Devine, bringing back the same nerdy chemistry they originally had in the Pitch Perfect series, are incredibly likeable together and, for the most part, hold back just enough to keep their relationship relatable without being annoying. As I mentioned, both Wilson and Devine’s style of comedy can be very infuriating at times, but they work well inside this particular concept where that style of boisterous intensity makes sense. Brandon Scott Jones does a really good job of pulling from classic eighties films to build his overly flamboyant character, and Priyanka Chopra makes the most of being a rich “Yoga Ambassador” who falls in love with Devine’s character after he saves her from choking.
One of the bigger surprises comes in the form of Hemsworth, who is quite funny as the clueless boss who becomes quite smitten with Natalie after their initial meet-cute when he almost hits her with his car. Like his older brother, Hemsworth has an unusual knack for creating a believable goof without going so far as to become a cartoon of himself. He fits right in with the other comedic talents in the film and doesn’t miss a step in either verbal or physical comedic moments, occasionally stealing the scenes, even when he’s simply in the background kicking a plant for fun.
The strength of the characters and how the actors play them is ultimately what helps the film succeed, despite some of the plot points that aren’t as developed as they should be. One of Natalie’s gripes about these types of films is that when there are two women in a workplace, they have to be mortal enemies. It’s a great concept and Natalie’s assistant (Betty Gilpin) in the real world becomes that enemy in the alt-verse, but the payoff falls on deaf ears as it’s never fully developed beyond that initial setup.
The film is only an hour and a half, which makes it shorter than the majority of the romantic comedies it’s parodying. I don’t normally say this, but the film could have used an extra ten to fifteen minutes, allowing it to add a few more layers to some of the ideas they present (one of which could have been to give Natalie’s assistant more to do and become integral to what happens later in the film), as well as giving us a tad bit more context at the beginning of the film before Natalie enters her rom-com reality.
Usually when there’s multiple writers on a project, the overall product suffers because things begin to get too jumbled, but with this film, the ideas translate well enough to hold your interest and the actors keep things moving at a good pace, making sure to keep everyone smiling throughout. If you’ve been craving a good romantic comedy, and are in need of a good date-night film, give this one a shot, as there’s no doubt you’ll leave the theater with just one thought — Isn’t It Romantic!
My Grade: A-
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Next week, new movies include How To Train Your Dragon: The Hidden World and Fighting With My Family. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.